[...]e a ="trms">specific ="nms">Iranian model of friendship='qstn'>? ='lgc'>--='qstn'>?='lgc'>='lgc'>--> ="nms">Tarof)
="prgrph">-political model of friendship (based on reciprocity)

Greco-Roman ='lgc'>='lgc'>--> Mediterranean ="trms">World
="prgrph">-the “swimming-pool and spa” of the ="trms">Greeks and Romans='qstn'>?
="prgrph">-wherein the cultural preferences, ideas and sensitivities of these peoples were dominant
="prgrph">-their ="trms"nttrm="disturban">urbanites and ="trms">cosmopolitan elites
="prgrph">-="trms">mutual knowl="trms"nttrm="knowledge,Knowledge">edge

politics of friendship in Kelileo Demne='lgc'>:
undiscovered treasures...
constantly warning of fall on the a="trms">symmetry
nonreciprocity
Kelile-o Demne is about ="trms">communal forms of fragile human existence
a project of (asserted) nonalienation
="prgrph">-destinal velocities (the Turtle, the storks, etc.)
="trms">fictioning totality of ="trms">nature, therefore, state
States of security, ="trms">nature of illusion,


="trms">finite essence of friendship

="large lg2" stl="font-size:111%"> (is muslim paradice and general idea of akherat in the way of ="trms">finitude of friendship='qstn'>? what would friendship for a mojud-e okhravi mean='qstn'>?)
octo-paradisic ="trms">systems



="trms">animal husbandry
='lgc'>[husband='lgc'>: conserve, husband, economize, economise, spouse, mate,='lgc'>]
='lgc'>[husbandry='lgc'>: the practice of cultivating the land or raising stock='lgc'>]

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="large lg1" stl="font-size:128%">
the national geography documentary crew and the editors ="trms">fabulating a ="trms">nature ="trms">story which comes to hang around in my family's lunch table culture. the ="nms">iranian mother and eating your ="trms">children ="trms">story of the lions. the multi ="trms">species ="trms">contingencies. my family culture="trms">naturally hanged on the ="trms">story of the ="trms">wild ="trms">nature, ="trms">wildness. what does it mean for my family in their ="trms">specific temporal location in ="nms">tehran ="trms">history='qstn'>? the disappearance of Gonjecshk ='lgc'>[Sparrows being replaced by ="ppl">="ppl">Starlings='lgc'>], parks ='lgc'>[numerous ="trms">stories of devastation='lgc'>], and the ="trms">anthropocentric state logic ='lgc'>[condition of the ="trms">zoos, hostility towards domestic dogs, etc.='lgc'>]='qstn'>?
="prgrph">-and as is the case with my family, they are so good at changing the subject, and all i have perhaps tried to performe is the ways we can stay with the subject of discussion around our lunch tables, to stay with this particular ="trms">story and not that. (althought i have been changing the subject constantly myself...)
="prgrph">-the absence (minimum ="trms">presence) of ="trms">animal in my family, and the ways the ="trms">animal ="trms">story circulate and live there. what is the ="trms">animal holding in my family='qstn'>?
="prgrph">-="trms">stories or ="trms">fables that permit ="trms">wonder, or allow perhaps to approach crows or cats as creatures who could be capable of ="trms">contingent cooperation or multi="trms">species companionship. ='lgc'>[i am referring to the video of the ="trms">wild ="trms">animal taking care of the baby pet, the popular video in ="trms">social media that t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggered the discussion about ="trms">wild and domesticity during the lunch between my family ="trms">members. an object that captured the dialectic of desire and disgust in my human family's ="trms">response to the ="trms">animal.='lgc'>]='lgc'>='lgc'>--> this is what I call ="trms">cosmology='lgc'>: beings that depends on their placing within a particular ="trms">cosmology. ="trms">cosmology is very much alive ='lgc'>='lgc'>--- ='lgc'>[="trms">animals fitting in the visual ="trms">rhetoric of web-based digital media is itself to be investigated... ="trms">social ="trms">relations, ="trms">social ="trms">animal, contemporary ="trms">cosmology='lgc'>]
="prgrph">-the minimum ="trms">relationship with feral cats, and rats, and pigeons (and their ="trms">material environment.) and ambiguity towards them. evoking ="trms">responses of ="trms">affection, disgust, fear, and in="trms">difference.
="prgrph">-="trms">relationships between people, ="trms">animals and place='strcls'>**** ='lgc'>[a place as complex as ="nms">Tehran's ="trms"nttrm="disturban">urban environment with its politics, televised operations, its ‘="trms">wilderness,’ and ="trms">technologically mediated ="trms">stories and ="trms">rumors that populate its landscape.='lgc'>] ='lgc'>='lgc'>--> are we having a ="trms">Historical change='qstn'>? in ="trms">epistemic principles ='lgc'>='lgc'>--> what is inside and what is outside ='lgc'>[keep in mind the ="trms">historical moment in ="nms">iran's political isolation. is this reflecting the ex="trms">="trms"nttrm="cluster,club">clusion of feral ="trms">animals of everyday life='qstn'>?='lgc'>]
="prgrph">-my family was able to talk ="trms">differently and find other expressions about violence in the landscape of ="nms">tehran by applying the ="trms">animal ="trms">story (to the head and heart.) ='lgc'>[this is also Kelile o Demneh.='lgc'>] the video was a heart-breaker. it had a healing moment, and their resistance to its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginality as a tale of friendship is meaningful, the violence is solid and a-="trms">priori to companionship, and it supported the ="trms">story of kinship instead of friendship. This ="trms">story also promoted the ="ppl">Descartes’ ="trms">beast-machine hypothesis, that the ="trms">wild-being is devoid of intentions and is like a timepiece with regular motions, that the ="trms">animal is object and not subject, ="trms">beast-machine.
="prgrph">-my mother's ="trms">relationship to the lions eating their offspring, octopus eating their mate, or cats licking their genitals and dogs filth scavenging='lgc'>--polluters of domestic space, cockroaches “belonging” to an stratum below civilized life, the “out of place” and abject owl, ="trms">species sexual dis="trms">positions and ="trms">different coupling, sug="trms">gest difficulty in an ="trms">anthropocentric expectation of alterity. ="trms">animals ="trms">simultaneously despised and admired ='lgc'>='lgc'>--- ='thdf'>the idea of eating your (so-called) “="trms">loved-one” (not a suitable object for ="trms">affection) refutes cross-="trms">species identification ="trms">according to ="trms">anthropocentric standards. ='lgc'>[windows of opportunity for cross-="trms">species bonding, domestic-wanna-be-feral ="trms">story, myth of mental intention and ="trms">animal flesh, irreducible heterogeneous ="trms">ontologies and involvement of human-="trms">animal in multiple ="trms">agencies, normal ="trms">stories of becoming human, ='lgc'>]
="prgrph">-which ="trms">animals are regarded as transgressive and ambiguous in ="nms">Tehran='qstn'>? and which aren't='qstn'>?
="prgrph">-resisting any openness to ='thdf'>the idea of feral ="trms">animal that was expressed in my family, a meaningful discomfort, actually entails the fear of finding that we are not so ="trms">different from ="trms">animals, within the violent landscape of contemporary ="nms">tehran.
="prgrph">-dust. fixation on clearing the dust out

this is one pattern of exchange.

(another ="trms">interference='lgc'>:)
='strcls'>*In Pinocchio we have the excellent cooperation between the cat and the fox, who are forming a cunning and successful participatory alliance to trick Pinocchio='lgc'>: the hybrid-robot who doesn't understand his own potentialities and wants to be so-called human, the ="trms">animal-betrayer. the fact that he can be tricked by the cat/fox is what making him human.
="lsts lst1">•and Geppetto, oh my god, (he is Yunnos/Jonah='qstn'>?) working on a project inside the fish, colloquial activity and asceticism registered with the fish ="trms">interiority. Geppetto-pop is refound or saved='qstn'>? by the non-truth seeking robot! ='lgc'>='lgc'>--> breaking his self-sur="trms">veillance as a characterization of pictorial objectivism, a form of moral self-control of ="trms">natural-philosophical style.
="lsts lst1">•i rather go with the ="trms">animal style, the con of Gorb-e nar-e ='and'>& Rubah-e makar گربه نره و روباه مکار they are opaque and transparent at the same time
="lsts lst1">•the signifying ="trms">animal, machine, and human in Pinocchio ="trms">story is ridiculous!
="lsts lst1">•towards ="trms">responding to “opacity” (opacity is complicated philosophical ethical issue regarding ="trms">animality and humanity) ='lgc'>='lgc'>--> refraction. with opacity what is at stake is our “="trms">material understanding of our connection with other ="trms">animals” (="ppl">="ppl">Marks, touch 39)


(we are talking about) ="trms">Fables of ="trms">Animal Subjectivity ='lgc'>[="ppl">="ppl">Kenney='lgc'>]

="trms">apparatuses of subject formation

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THE prey and THE visible (both are ="trms">categories of forest life survival ="trms">stories. also have high stakes in ="nms">iranian culture, thought, and philosophy)
='lgc'>='lgc'>--> what is important for a living self='qstn'>?

(bab-e) hekayat-e dusti-e kabutar o zagh o mush o bakhe o aahu o ...
بابِ / حکایت دوستی کبوتر و زاغ و موش و باخه و آهو و ...
='lgc'>[everyone='qstn'>?='lgc'>]
='lgc'>[the ="trms">story of the friendship of these ="trms">animals; the quality, properties, and pitfalls of ="trms">relation='lgc'>]
="lsts lst1">•what is (re)activating the ='strcls'>*="trms">imaginary friend='strcls'>*='qstn'>? (is it really fully on shut-down='qstn'>?) ='lgc'>-='lgc'>='lgc'>--> ="trms">trap to abstract thought='qstn'>? ='lgc'>-='lgc'>='lgc'>--> this ‘abstract thought’ is d="trms"nttrm="danger,stranger">angerous for “sadness” to get lost in it, but it is amazing for “joy”
="lsts lst1">•how much we need sadness='qstn'>?

why jackal is so persistent and play-full (full of “plays”) in Kelile o Demne's ="trms">bestiary='qstn'>?


="trms">bird people
,
fox people

,


arbab-e اربابِ ='lgc'>='lgc'>--> dar bab-e در بابِ
(let's do this conversion, we are not “arbab”/master of the ="trms">story nor ethics or anything else, we like to create “dar bab-e”='lgc'>: doors/openings into ="trms">different possible path ways)
(it is about teller not fully understanding the ="trms">story)



‘shekar’ ='lgc'>[شکار prey='lgc'>] and ‘ashkar’ ='lgc'>[آشکار visible='lgc'>], two entities in play, like the game of stone-paper-scissors, a link in our shared ="trms">literature that relates the perceptible to the subject of hunt. in a discourse of friendship and enmity, the visible anticipating itself as target for violence, becomes meaningful when we approach it in a game-theoretic-="trms">semiotic linkage, relating and ty[...]